Memory has a way of magnifying moments from the past, the cherished ones imprinted for all the right reasons (even if colored a little rosy by time), the ones we’d rather forget somehow finding a way to surface when we least want or expect them.
Today, on a day of scattered showers in a month now synonymous with celebrating poetry, memory takes me to a clipping my mother kept in her wallet, the first poem I ever published. I was a young girl and all I remember of the poem was its title, “Raindrop,” and the green mimeographed (anyone remember those days?) school newsletter in which it appeared, and how losing that when her wallet went missing was worse to her than the money and credit cards stolen. Some things can never be replaced.
It’s always struck me as a little ironic that the very month dubbed the ‘cruelest’ by an iconic poet is the one designated to keep the spirit of poetry alive. Or maybe that’s the point. Poetry works best when it alludes to what’s not so obvious. It’s a way of perceiving the world in less than literal terms. To my thinking, it’s the music of language. Nursery rhymes – enchanting as ever to read aloud – are only the beginning.
‘I don’t get it.’ ‘It’s too much trouble to figure out.’ In days of old, metaphoric thinking was an assumption. These days it takes some cultivation, although Twitter, with its abbreviated paradigm, has put a new brand on haiku. Like everything else – fashion, music, fiction – poetic forms are tuned to the world that give them expression.
The month of April, with its promise of renewal, happens to be the month my mother died. I read poetry every month of the year; in April, I give it even more attention. I want everyone I know to hear the echoes I hear when I just look at the cover of Adrienne Rich’s book, What Is Found There, the title pulled from “Asphodel, That Greeny Flower,” a poem by William Carlos Williams:
It is difficult to get the news from poems yet men die miserably every day for lack of what is found there.
So now, on a day in a month that calls up showers (and the flowers to come) let’s hear it for a little less news, a little more poetry. Like the best of poems that invite us to tease apart the images, here’s Bess, by Linda Pastan, in which a name “passed like a keepsake” becomes a link that connects a poem recalled, the poet’s mother, and an infant girl.
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